Modern Flashcards
George Catlin, Buffalo Bull’s Back Fat, Head Chief, Blood Tribe, 1832, Smithsonian American Art Museum, Washington, D.C.
American Portraiture
1838 – assembled exhibition called “Indian Gallery” of over 300 paintings
• Included portraits of chiefs and warriors and scenes of Native American life, and
collection of Native American art and artifacts
• Exhibition toured US, London, and Paris
Alexander Calder, 125, JFK Airport, New York, 1957
Modern: Kinetic Sculpture
Timothy O’Sullivan, A Harvest of Death, Gettysburg, Pennsylvania, July 1863
Early American Photography
Édouard Manet, A Bar at the Folies-Bergère, 1882
French Impressionism
Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884-86
Post-Impressionism: Pointillism
Casper David Friedrich, Abbey in an Oak Forest, 1810, Schloss Charlottenburg, Berlin
German Romantic
Augustus Saint-Gaudens, Adams Memorial, Rock Creek Cemetery, Washington, D.C., 1891
Modern Sculpture/ American Beaux-Arts
Commissioned by Henry Adams as a grave sculpture in remembrance of his wife –
Marion Hooper
- She had committed suicide 2 years earlier
- Adams’ study of Buddhism in Japan in 1886 caused him to request the sculpture figure
- A male model modeled for the draped figure and face was done with a woman
- Adams didn’t want to see statue until it was finished
- Henry called the statue “the Buddha”
Karl Friedrich Schinkel, Altes Museum, Berlin, 1822-30
German Neoclassical
- National museums were designed in this style positioning the buildings as temples of culture and displays of nationalism. This was commissioned to display the royal art collection and was built across from the Baroque royal palace. Interior courtyards were created to solve issues of lighting of the art works.
- Germany redefines their identity by referencing the classical tradition. Idea of approach becomes important. Created courtyards to allow for natural illumination for the artwork.
- nterior courtyards on either side of central rotunda with tall windows to provide light to light the artworks
Grant Wood, American Gothic, 1930
American Modern (?)
Charles Sheeler, American Landscape, 1930, The Museum of Modern Art, New York
American Modernism
Diego Rivera, Ancient Mexico, 1929-1935, National Palace
Mexian social realism: Mural
- Studied in Italy
Timothy H. O’Sullivan, Ancient Ruins in the Canyon de Chelley, Arizona, 1873
Early Modern Photography/American
- O’Sullivan accompanied a geological survey expedition in the western United States. While ostensibly a documentary photograph, his depiction of “The White House” built by 12th century Ancestran Puebloans is both a valuable document for the study of architecture and an evocative photograph, filled with the Romantic sense of sublime melancholy.
Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827, Musée du Louvre
French Neoclassical
- took elongated forms as inspiration from Greek vases
James Abbott McNeill Whistler, Arrangement in Black and Grey: The Artist’s Mother, 1871
Anglo-American Impressionism/Tonalism
Jacob Riis, Bandits’ Roost, c.1888
Early American Photography
- Scene of New York’s Lower East Side
- Published How the Other Half Lives in 1890
- aimed to galvanize public concern for the unfortunate poor, used photography as a means of bringing about social change, believed crime and poverty to be largely environmental problems
- Police reporter for New York Tribune; Actually investigated slum life rather than rewriting police reports
- Led to major revisions of city’s housing codes and labor laws
- Notorious gangs of NYC’s Lower East side look for victims by night and kill without hesitation
Aaron Douglas, Aspects of Negro Life, 1934
Social Realism: Harlem Renaissance
- Between two world wars, African Americans migrated to urban, industrialized north
- New Negro Movement – Encouraged African Americans to become politically progressive and radically conscious
- Douglas created numerous large-scale murals that portray subjects from African American history and contemporary life in epic allegories. In 1934, he was commissioned, under the sponsorship of the Public Works of Art Project (PWAP), to paint a series of murals for The New York Public Library’s 135th Street branch, now the Schomburg Center for Research in Black Culture. Among his best-known works, the four panels of Aspects of Negro Life are characteristic of Douglas’s style, with graphically incisive motifs and the dynamic incorporation of such influences as African sculpture, jazz music, dance, and abstract geometric forms.
- Influenced by the African-influenced style of Cubism and from the Egyptian-Revival manner of Art Deco, which evoked associations with ancient Africa. Synthesizes visual narratives with an abstract Modernist style, apprenticed with Reiss who was a graphic artist.
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Pierre-Auguste Renoir, Bathers, 1887
French Impressionism
- Done late in his career
- three graces
- Thus began to focus on nude, subject more difficult to locate at a particular time
- Women shown in three different views (front, back, and side), a tradition established with the three graces. Treatment of figures is classical except for brush like quality of landscape and the typical Parisian women.
Walter Gropius, Bauhaus Building, Dessau, Germany 1925
Modern Architecture: Bauhaus
Henri Labrouste, Bibliothèque Sainte-Geneviève, Paris 1843-50
French Neo-Classical/Industrial Revolution
- Labrouste was a radical in his desire to reconcile conservative design principles with technological innovations of industry
- This building represents the fusion of historicized architecture built with modern industrial engineering. The domes have glass-covered oculi that light the reading room. The mixture of historical allusions and the vast open space made possible by industrial materials is thoroughly modern.
- Interesting adjustment of Romantic revival style with skeletal industrial interior. Interior colonnettes as Corinthian although the material is steel. Roman arches and their bulkiness contrast with the skeletal framework of steel frames.
- Modification of revived Renaissance style to use skeletal cast-iron elements
Constantine Brancusi, Bird in Space, 1928
Modern Sculpture (Romanian born in France)
- This sculpture indicates, not the physical form of the bird but the movement. Brancusi admired the semi-abstract forms of much of the art beyond the Western tradition.
- In this case, everything is compressed into the most direct and economical expression, suggests the actual airflow, parallel to the advancements of aerodynamics, coming together of art and science.
- Romanian folklore the Măiastra is a beautiful golden bird who foretells the future and cures the blind
Georgia O’Keeffe, Black Iris III, 1926
American Modernism
John and Washington Roebling, Brooklyn Bridge, New York, 1867-83
Modern American Engineering
Joseph Stella, Brooklyn Bridge, 1917
Futurism/American Modernism
Auguste Rodin, Burghers of Calais, 1884-86
Modern French Sculpture
Gustave Courbet, A Burial at Ornans, 1849
Realism
Man Ray, Cadeau (Gift), 1921 original
French: Dada
Louis Henry Sullivan, Carson, Pirie, Scott Building/Schlesinger and Meyer Department Store, Chicago, 1899-1904
Modern Architecture
First truly modern architect
- This is his last building
- Remember the 1871 Chicago fire th
- Synthesis of industrial structure and ornamentation that expressed spirit of late 19 c. commerce
- Latest technological developments to create light-filled, well-ventilated buildings
- Schlesinger and Meyer Department Store
- Required broad, open, well-illuminated display spaces
Lowest two levels are ornamented in cast iron of wildly fantastic motifs
• Sullivan believed that display windows were like pictures and merited elaborate frames
Robert Rauschenberg, Canyon, 1959, The Baltimore Museum of Art
Assemblage / “Combine” paintings
Antonio Gaudi, Casa Mila, Barcelona, 1907
Art Nouveau
James Ensor, Christ’s Entry into Brussels in 1889, 1888
Belgian Symbolist
- Blending of symbolist and expressionist traditions, acidic colors increase the sense of caricature, as does the crude handling of form, rough paint is both expressive and expressionistic.
- Lived in coastal resort town of Ostend
- Family sold grotesque, papier-mâché masks during annual pre-Lent carnival
- Christ is lost in sea of leering faces, personifications of evil
- Acidic colors increase sense of caricature
- Rough paint is expressive and expressionistic: lack of subtlety characterizes subjects,
- Ensor identified with Christ, whose suffering paralleled his own at the hands of hostile critics and indifferent public
Étienne-Louis Boulée, Cenotaph for Sir Isaac Newton, 1784, Bibliothèque Nationale, Paris
William Van Alen, Chrysler Building, NYC, 1928-30
Alberto Giacometti, City Square, 1948, The Museum of Modern Art, New York
Claes Oldenburg, Clothespin, Centre Square, Philadelphia, 1976
Abraham Darby and Thomas Pritchard, Coalbrookdale Bridge, England, 1776-79, cast iron bridge (Modern)
John James Audubon, Common Grackle, 1826, New York Historical Society
Juan Miro, Composition, 1933
Piet Mondrian, Composition in Red, Blue and Yellow, 1930, Private Collection
De Stijl
dynamic equilibrium
very spiritual and utopian
unequal but equivalent oppositions
Neoplasticism – This is nonobjective art, “pure plastic art” that expresses universal reality
Angelica Kauffmann, Cornelia Pointing to Her Children as her Treasures or Mother of the Gracchi, 1785, Virginia Museum of Fine Arts, Richmond
Joseph Paxton, Crystal Palace, London, 1851
This structure was significant in that it was made of cast iron-framed glass panes of the largest size that could be mass-produced at the time. It was the largest space ever enclosed at the time, built for the Great Exhibition of 1851. Most architects of the time were wedded to neoclassicism and romanticism and did not see it as legitimate architecture.
Shows the standardization and prefabrication of structural members, entirely of iron and glass. Contrasts with the romantic picturesque tradition of ancient building techniques and styles.
Used in 1851 then Re-erected at new location on outskirts of London
• 1936 – destroyed by fire
James VanDerZee, Couple Wearing Raccoon Coats, 1932
David Smith, Cubi series, 1963-64, photographed at Bolton Landing, New York
Antonio Canova, Cupid and Psyche, 1787-93, Musée du Louvre (Neoclassism)
- made for a private collector in Rome
- Venus casts Psyche into a death-like sleep; Jupiter then gives her mortality
- Cupid revives Psyche with a kiss
- combined Neoclassism with elements of Rococo (tenderness, sensuality)
William Sydney Mount, Dancing on the Barn Floor, 1831, The Museum of Stony Brook
John Trumbull, Death of General Warren at the Battle of Bunker Hill, 1786
Jacques-Louis David, Death of Marat, 1793, Musees Royaux des Beaux-Arts de Belgique, Brussels
Eugène Delacroix, Death of Sardanapalus, 1827, Musée du Louvre, Paris
Lord Byron’s 1821 poem Sardanapalus, but does not illustrate the text
• This is last hour of Assyrian king
Jacques-Louis David, Death of Socrates, 1787, Metropolitan Museum of Art, NY
Roy Lichtenstein, Drowning Girl, 1963, The Museum of Modern Art, New York
Albert Sands Southworth & Josiah Johnson Hawes, Early Operation Under Ether, Massachusetts General Hospital, c.1847, Massachusetts General Hospital, Boston
one of the first Daugerreotypes in US
they ran a portraiture studio and also took their equipment on the road
Gustave Eiffel, Eiffel Tower, Paris, 1887-89
Victorian/Structural Expressionist
- This was built for the 1889 Universal Exposition
- When built it was the tallest structure in the world and re-ignited debate about architecture versus engineering. The tower subsequently became a symbol of modernity.
- Achievement of modern engineering, embodies 19th cent belief in the progress and ultimate perfection of civilization through science and technology. Criticized because it lacked historical antecedents.
- Triumphal arch of science and industry
Jose Clemente Orozco, Epic of American Civilization: Hispano-America (panel 16), mural, 1932-34, Baker Memorial Library, Dartmouth College, Hanover, NH
Robert Adam, Etruscan Room from Osterley Park House, Middlesex, England, begun 1761
Frank Lloyd Wright, Kaufmann House (Fallingwater), Bear Run, PA, 1936-39
Jasper Johns, Flag, 1954-55, The Museum of Modern Art, New York
American Pop Art
Arthur Dove, Foghorns, 1929, The Colorado Springs Fine Arts Center
- often considered first American abstract painter
Edmonia Lewis, Forever Free, 1867
Marcel Duchamp, Fountain, 1917/1950, Photograph by Alfred Stieglitz, Philadelphia Museum of Art
George Caleb Bingham, Fur Traders Descending the Missouri, c. 1845, The Metropolitan Museum of Art, New York
American Romantic: Luminism
Norman Rockwell, Freedom from Want, story illustration, Saturday Evening Post, 1943
Jean-Antoine Houdon, George Washington, 1788-92, State Capitol, Richmond, VA
Jean-Baptiste Siméon Chardin, Grace at Table, 1740, Musée du Louvre, Paris
Pablo Picasso, Guernica, 1937, Museo Nacional Centro de Arte Reina Sofía, Madrid
Frank Lloyd Wright, Guggenheim Museum, New York City, 1959
Moshe Safdie, Habitat ‘67, Montreal, Canada, 1967
Alexander Gardner, Home of the Rebel Sharpshooter, Gettysburg, 1863, Chicago Historical Society
Matthew Brady’s assistant
Eadweard Muybridge, Horse Galloping, 1878
zoopraxiscope – Muybridge invented, projected sequences of images onto screen
• Created illusion of motion, rapid succession of images merging one into next produced
illusion of continuous change
Victor Horta, Hotel van Eetvelde, Stairwell, Brussels, Art Nouveau, 1895
nspired by English Arts and Crafts movement of 1880s
- Concern for integrating the various arts into a unified while
- Arabesque lines
- Japonisme
Charles Demuth, I Saw the Figure 5 in Gold, 1928
Modern: American Precisionist
William Carlos Williams
Claude-Nicolas Ledoux, Ideal City of Chaux, 1804
Neoclassicsm
- Unrealized plan for Chaux – southeast France
- Centered around 2 salt factories and their administrative headquarters
- Assumption that industry – not farms and Church and state – would establish foundation for prosperous future
- Axially aligned plan that is functionally organized, Director’s house at heart of community and everything within walking distance. Columnar style is innovative, although classically inspired with pedimented façade, the importance lies in the idea of a functionally and practical city plan.
- Classicism was the only true style according to French architects of late 18th c.
Claude Monet, Impression: Sunrise, 1872
Impressionism
- Monet was more interested in creating a new style of modern painting than the social commentary of realism. He painted en plein air (outdoors) and used vibrant colours and loose brush strokes to evoke a momentary sensation and the change of light throughout the day.
- Shown at 1st impressionist show in 1874
- Hostile critic coined term “impressionism” in response to the painting
- Impressionism closely studied how light dissolved form, importance of drawing en plein air, that is outside the studio where the artist can quickly capture how sunlight at different times of day changes the color and form of objects. Reflection of light on water becomes an interesting characteristic of impressionistic painting.
- No attempt to blend pigment to create smooth tonal gradations or optically accurate
- Impressed by Chevreul’s color theories
- Monet worked closely with Renoir to develop Impressionism into fully mature style
Théodore Géricault, Insane Woman, 1822-23, Musée des Beaux-Arts, Lyons
Wassily Kandinsky, Improvisation 28, 1912, Solomon R. Guggenheim Museum, New York
Friedrich Overbeck, Italia and Germania, 1811-28, Bayerische Staatsgemäldesammlungen, Neue Pinakothek, Munich
German Romantic: Nazarene
Albert Pinkham Ryder, Jonah, 1885, Smithsonian Museum of American Art, Washington, D.C.
Julia Morgan, La Casa Grande (Hearst Castle), San Simeon, California, 1922-26
Henri de Toulouse-Lautrec, La Goulue, lithographic poster, 1891
Post-Impressionism: Art Nouveau
François Rude, La Marseillaise, Arc de Triomphe, Paris, 1833-36
This monument, part of the Arc that was never completed by Napoleon, commemorates the volunteer army that halted Prussian invasion in 1792. Despite the classical details, the impact of the sculpture is Romantic - in the excited group and frantic winged Liberty calling them to action.
Manuel Alvarez Bravo, Laughing Mannequins, 1930, The Art Institute of Chicago
Édouard Manet, Le Déjeuner sur l’herbe (Luncheon on the Grass), 1863, Musée d’Orsay, Paris
This painting was featured in the Salon des Refusés and was scandalous at the time for its ‘immorality’ with the two clothed men having a picnic with a naked woman. The painting purposely skewered academic and classicist works. It was meant to be a modern version of the Pastoral Concert but was one of Manet’s most subversive works.
Jean-Auguste-Dominique Ingres, Le Grande Odalisque, 1814, Musée du Louvre, Paris
Greek Vase Painting
Auguste Renoir, Le Moulin de la Galette, 1876, Musée du Louvre, Paris
Pablo Picasso, Les Demoiselles d’Avignon, 1907, The Museum of Modern Art, New York
Eugène Delacroix, Liberty Leading the People, 1830, Musée du Louvre, Paris
Alexander Calder, Lobster Trap and Fish Tail, 1939, The Museum of Modern Art, NY
Auguste Renoir, Luncheon of the Boating Party, Bougival, 1881, The Phillips Collection, Washington, D.C.
Pablo Picasso, Ma Jolie, 1911, The Museum of Modern Art, New York
Diego Rivera, Man, Controller of the Universe, 1934, Museo del Palacio de Bellas Artes, Mexico City
Andy Warhol, Marilyn Diptych, 1962
American Pop Art
Henry Hobson Richardson, Marshall Field Wholesale Store, Chicago, 1885-87 (demolished)
Neo-Romanesque
Giorgio De Chirico, Melancholy and Mystery of a Street, 1914, Private Collection
Metaphysical
Visually disturbing because of its sharp inclinations of space and shadow, philosophical interpretation originates from the pittura metafisico school in Italian art (inspired by Nietzsche). Inspiration for future surrealists, because he created metaphysical painting, that speak to supernatural elements far from the ordinary experience.
Found reality revealed through strange juxtapositions
Long shadows of sun transform open space into silent public monuments
Strangeness of familiar objects
• Nietzsche’s “foreboding that underneath this reality in which we live and have our being, another and altogether different reality lies concealed”
huge influence on Dada (decontextualization of everyday) and Surrealism (eerie mood)
Dorothea Lange, Migrant Mother, Nipomo Valley, 1936, The Oakland Museum
Jacob Lawrence, Migration of the Negro series, Panel #1, “During the World War…” 1940-41, The Phillips Collection, Washington, D.C.
Thomas Jefferson, Monticello, 1770-1806, Charlottesville, Virginia
Paul Cézanne, Mont Sainte-Victoire Seen from Bibemus Quarry, 1897-1900
Post-Impressionism
Cezanne’s handling of the paint is deliberate and controlled. There’s a tension between the two dimensional surface of the painting and the 3d landscape. He wanted to construct nature rather than purely represent it.
Vladimir Tatlin, Monument to 3rd International, 1919-1920
Auguste Rodin, Monument to Balzac, 1897-98, The Museum of Modern Art, NY
Charles Demuth, My Egypt, 1927, Whitney Museum of American Art
Antoine-Jean Gros, Napoleon at the Pesthouse at Jaffa, 1804, Musée du Louvre, Paris
Käthe Schmidt Kollwitz, Never Again War! 1924
Frederic Edwin Church, Niagara, 1857, The Corcoran Gallery of Art, Washington, D.C.
Cole’s only student
Edward Hopper, Nighthawks, 1942, Art Institute of Chicago
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875, The Detroit Institute Arts
Le Corbusier, Notre Dame du Haut, Ronchamp, France, 1950-55
Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912, Philadelphia Museum of Art
Jackson Pollock, Number 1, 1950 (Lavender Mist), 1950
Abstract-Expressionism: Action Painting
Adolph-William Bouguereau, Nymphs and a Satyr, 1873, Sterline and Francine Clark Art Institute, Williamstown, MA
Jacques-Louis David, Oath of the Horatii, 1784, Louvre Museum, Paris
Meret Oppenheim, Object (Le Dejeuner en fourrure/Luncheon in Fur), 1936, The Museum of Modern Art, NY
Édouard Manet, Olympia, 1863, Musée du Louvre, Paris
Jean Everett Millais, Ophelia, 1852, Tate Gallery, London
Gustave Caillebotte, Paris: A Rainy Day, 1877, The Art Institute of Chicago
Anton Raphael Mengs, Parnassus, from the Villa Albani, Rome, 1761 (Neoclassicsm)
- Villa Albani important spot on the grand tour; home of Cardinal Alessandro Albani; hired Johann Wincklemann to be his librarian
- Mengs is German-born, Wincklemann’s good friend
- considered the first true Neoclassicst painting; painted on ceiling of Villa Albani
- Apollo’s pose modeled after Apollo Belvedere
- figures arranged in pyramidal construction
Henry Flitcroft and Henry Hoare, Park at Stourhead, Wilshire, England, 1744-65 (Neoclassical)
- Henry Hoare was a banker who owned the estate
- landscape dotted with Roman-style temples, grottoes and copies of classical statues
- also includes a Chinese bridge, rural cottage and a Turkish tent
- exotic elements serve as a precursor for Romantic tastes for the non-Western
- mixture of Neoclassical and Romantic
- picturesque
John Singleton Copley, Paul Revere, 1768-70, Museum of Fine Arts, Boston
Antonio Canova, Pauline Borghese as Venus, 1808, Galleria Borghese, Rome
Joseph Wright of Derby, Philosopher Giving a Lecture at the Orrery, 1763 (Neoclassical)
Thomas Hart Benton, Pioneer Days and Early Settlers, State Capitol, Jefferson City, Missouri, 1936
Théodore Gericault, Pity the Sorrows of a Poor Old Man, 1821, Yale University Art Gallery New Haven
Richard Rogers and Renzo Piano, Pompidou Center, Paris, 1977
Marsden Hartley, Portrait of a German Officer, 1914
American Cubism
Théodore Géricault, Raft of the Medusa, 1818-19, Musée du Louvre, Paris
Joseph Mallord William Turner, Rain, Steam and Speed-The Great Western Railway, 1844, National Gallery, London
English Romanticism
Henry Moore, Recumbent Figure, 1938, The Tate Gallery, London
Ellsworth Kelly, Red Blue Green, 1963, The Museum of Contemporary Art, San Diego, CA
Post-Painterly Abstraction: Hard-Edge Painting
Henry Ossawa Tanner, Resurrection of Lazarus, 1896, Musée d’Orsay, Paris
Augustus Saint-Gaudens, Robert Gould Shaw Memorial, 1884-97, Boston Commons, MA
Frank Lloyd Wright, Robie House, Chicago, 1906-9
Hood & Fouilhoux et al, Rockefeller Center, NYC, 1931-9
Claude Monet, Rouen Cathedral: The Portal (in Sun), 1894
French Impressionism
1890- Haystacks
John Wood the Elder and John Wood the Younger, Royal Circus, Bath, England, 1754-58
Honoré Daumier, Rue Transnonain, 1834, Bibliothèque Nationale, Paris
Gerrit Rietveld, Schroder House, Utretcht, The Netherlands, 1924
Christo and Jeanne-Claude, Running Fence, Sonoma & Marin Counties, California, 1976
Mies van der Rohe, Seagram Building, New York City, 1956
Elisabeth Louise Vigee-Lebrun, Self-Portrait, 1790, Galleria degli Uffizi, Florence
Paula Modersohn-Becker, Self-Portrait with Amber Necklace, 1906, Kustmuseum, Basel
Frida Kahlo, Self Portrait with Thorn Necklace, 1940, Art Collection, Harry Ransom Research Center, University of Texas at Austin
John Sloan, Sixth Ave & 30th Street, 1909
Winslow Homer, Snap the Whip, 1872, The Butler Institute of American Art, Youngstown, Ohio
Robert Smithson, Spiral Jetty, Great Salt Lake, Utah, 1969-70
George Bellows, Stag at Sharkey’s, 1909, The Cleveland Museum of Art
Vincent Van Gogh, Starry Night, 1889
French Post-Impressionism
- combination of observation and imagination; interiority of the artist becomes important
- Vincent’s brother Theo owned an art gallery in Paris
- the cyprus tree and stars may resemble eternal life and death
- his view from the St. Remy asylum where he committed himself
- flattened picture plane
- non-naturalistic
Auguste Bartholdi, Statue of Liberty, New York Harbor, 1875-84
Neoclassical
- gift from France to the US for its centennial- it was the gift of the French people, not the government, the money was raised via public subscription which is why it took almost 10 years
- Image developed from previous concept for gigantic lighthouse in form of woman holding lamp, intended for Suez Canal northern entrance… Exchanged Egyptian headdress for crown and lantern for torch
- Steps on broken shackles of tyranny with left foot
Adolph Loos, Steiner House, Vienna, 1910
Modernist Functionalism
- Loos wrote in Ornament and Crime that the evolution of culture is synonymous with removing ornament from utilitarian objects. he saw ornamentation as a sign of cultural degeneracy. Steiner House is stucco-covered, concrete construction without embellishment. He believed the exterior was only to provide protection from the elements.
- curved roof for snow and rain, creates no wasted space which explains why there is no pitched roof. Modernism reacted against Art Nouveau; it became a stripped down and severely geometric style.
- This view based on Socialist view of the craftsman as slave to the rich bourgeoisie
- Steiner House – one of first house built of ferroconcrete
- Ferroconcrete – concrete reinforced with steel
Louis-Jacques-Mandé Daguerre, Still Life in Studio, 1837, Société Française de Photographie, Paris
Paul Cézanne, Still Life with Basket of Apples, c.1895, The Art Institute of Chicago
Pablo Picasso, Still Life with Chair Caning, 1911-12, Musee Picasso, Paris
Synthetic Cubism
Horace Walpole and others, Strawberry Hill, Twickenham, England, 1749-76 (Gothic Revival)
- Walpole was a conservative politician and author
- in 1764 published the Castle of Otranto, a romantic story set in the middle ages that helped launch the craze for the gothic novel
Kazimir Malevich, Suprematist Painting (Eight Red Rectangles), 1915, The Museum of Modern Art, New York
Stuart Davis, Swing Landscape, 1938, Indiana University Art Museum
Robert Adam, Syon House, Middlesex, England, 1760-69
William Blake, The Ancient Days, 1794, Library of Congress, Washington, D.C.
Figure is concept of creator and wisdom
• Frontpiece of Blake’s book “Europe: A Prophecy”
William Holman Hunt, The Awakening Conscience, 1853, The Tate Gallery, London
Egar Degas, The Ballet Rehearsal (Adagio), 1876, Glasgow Museum: The Burell Collection
Mary Cassatt, The Bath, c. 1892, The Art Institute of Chicago
Richard Morris Hunt, The Breakers, Newport, RI, 1892
Beaux Arts Eclecticism
Built for Cornelius Vanderbilt II – railroad king
determined to raise standards of American architecture
Founded the first American architectural school at his Tenth Street Studio; co-founded the American Institute of Architects and became its President in 1888, brought the first apartment building to Manhattan in a burst of scandal, and set a new ostentatious style of grand houses for the social elite and the eccentric, competitive new millionaires of the Gilded Age
Hunt’s greatest influence is his insistence that architects be treated, and paid, as legitimate and respected professionals equivalent to doctors and lawyers.
Worked on the base of the Statue of Liberty and the façade of the Metropolitan Museum of Art
Fernand Leger, The City, 1919, Philadelphia Museum of Art
John Singer Sargent, The Daughters of Edward Darley Boit, 1882, Museum of Fine Arts, Boston
Odilon Redon, The Cyclops, 1898
Symbolism
Freud-Interpretation of Dreams (1900)
Used nature (impressionist) as a point of departure for fantastic visions tinged with loneliness and melancholy, was originally a graphic artist, creates many human-vegetal and other hybrids, originated from Darwin’s idea that all forms derive from earthly life.
Cyclops is a figment of the imagination made visible
Benjamin West, The Death of General Wolfe, 1771, The National Gallery of Canada, Ottawa (Neoclassical History Painting)
Judy Chicago, The Dinner Party, 1979, The Brooklyn Museum
39 Places (3 x 13 Last Supper)
Linda Nochlin- Why Have there been no great female artists? 1971
Francisco Goya, The Family of Charles IV, 1800, Museo del Prado, Madrid
Jean-François Millet, The Gleaners, 1857, Musée du Louvre, Paris
Hiram Powers, The Greek Slave, 1843, Yale University Art Gallery, New Haven
Thomas Eakins, The Gross Clinic, 1875, Jefferson Medical College of Thomas Jefferson University, Philadelphia
This was one of Eakin’s most controversial paintings. It was rejected from the fine art exhibition in the Philadelphia centennial show and put int he scientific/medical section. The painting shows Dr. Gross performing an operation he pioneered, it shows both reverence and the fearsomeness with which the public viewed surgeons.
Eakins depicts the modern advancement of medical practice for the direct benefit of patients (operation shows that there is no need for amputation anymore). Heroic portrait of doctor, illuminated as if he had a halo, similar Baroque lighting of Rembrandt’s The Anatomy Lesson of Dr. Nicolaas Gulp.
John Constable, The Haywain, 1821, The National Gallery, London
Marie-Rosalie Bonheur, The Horse Fair, 1853, The Metropolitan Museum of Art, New York
socialist and Saint-Simonian
Painter of farm life because she did not live in Paris, female painter in male dominated domain because of her socialist parents, studied zoology books and slaughterhouses in order to properly display animals. The salon favored painting’s compositional harmony between man and animal.
- Most celebrated woman artist of 19th c.
- Trained by father who supported Saint-Simonianism
Sir Charles Barry and A. N. Welby Pugin, The Houses of Parliament, London, 1836
Henri Matisse, The Joy of Life, 1905-06, The Barnes Foundation, Merion, Pennsylvania
Gustav Klimt, The Kiss, 1907-08, Osterreichische Galeri, Vienna
Ford Madox Brown, The Last of England, 1852-55, City Museum and Art Gallery, Birmingham
Never officially a member of the PRB but worked in similar style and taught Hunt, Millais, and Rossetti who founded PRB in 1848
Vincent Van Gogh, The Night Cafe, 1888, Yale University Art Gallery, New Haven
Henry Fuseli, The Nightmare, 1781, Detroit Institute of the Arts
Henry Fuseli, The Nightmare, 1790, Freies Deutches Hochstift-Frankfurter Goethe-Museum, Frankfurt
Käthe Schmidt Kollwitz, The Outbreak, from The Peasants’ War series, etching, 1903, Kupferstichkabinett, Staatliche Museen zu Berlin
Thomas Cole, The Oxbow (Connecticut River, near Northampton), 1836, The Metropolitan Museum of Art, New York
Jacques-Germain Soufflot, The Panthéon (Church of Sainte-Geneviève), Paris, 1755-92
Charles Garnier, The Paris Opéra, 1861-74
This was built on the intersection of Haussmann’s grand avenues and accessible from all directions. The design is based mostly on Baroque styles, recalling earlier periods of greatness in France. The exterior was opulent and neo-baroque.
Meant to be festive and spectacularly theatrical which accounts for its abundance of decoration. Mimics the Louvre façade to an extent. Baroque interior with sweeping staircases also shows the social importance of seeing and being seen.
James McNeill Whistler, The Peacock Room: Harmony in Blue and Gold, London, 1876-77, The Freer Gallery of Art, Smithsonian Institution, Washington, D.C.
Aestheticism
Aubrey Beardsley, The Peacock Skirt, 1894
Art Nouveau
Salomé – scandalous book/play by Oscar Wilde - 1893
Japonisme – Japanese print influence
Salvador Dali, The Persistence of Memory, 1931, The Museum of Modern Art, New York
Caspar David Friedrich, The Polar Sea, 1824, Kunsthalle, Hamburg, Germany
George Braque, The Portuguese, 1911, Kunstmuseum, Basel, Switzerland
Michael Graves, The Public Services Building, Portland, Oregon, 1980
George Inness, The Rainbow, 1887, Indianapolis Museum of Art
Henri Matisse, The Red Studio, 1911, The Museum of Modern Art, New York
Albert Bierstadt, The Rocky Mountains, Lander’s Peak, 1863, The Metropolitan Museum of Art, New York
Edvard Munch, The Scream, 1893, Nasjonalgalleriet, Oslo
Symbolist
Image of modern alienation
Originally titled “Despair”
Joseph Mallord William Turner, The Slave Ship, 1840, Museum of Fine Arts, Boston
Francisco Goya, The Sleep of Reason Produces Monsters, from Los Caprichos, 1798, The Metropolitan Museum of Art, New York
Henri Rousseau, The Sleeping Gypsy, 1897
Symbolism
untrained amateur painter; Had been a municipal toll collector in Paris
His ideal was the dry academic style of Ingres, but he had no formal training
Paradox of folk art and genius
Style very different from time but became important artist to 20th century avant-gardists including Expressionists and Surrealists
From 1886 on, Rousseau exhibited at Salon des Indépendants
Jean-François Millet, The Sower, 1850, Museum of Fine Arts, Boston
1848 - Became member of Barbizon school which specialized in images of forest and
countryside; same year as Revolution
- He was no radical
- Lived in village of Barbizon in forest Fontainebleau
Alfred Stieglitz, The Steerage, 1907, The Art Insitute of Chicago
Gustave Courbet, The Stone Breakers, 1849, believed to be destroyed during WWII
Baudelaire – “It is necessary to be of one’s time.”
Ernst Ludwig Kirchner, The Street, Dresden, 1907-08
Gustave Courbet, The Studio of a Painter: A Real Allegory Summarizing My Seven Years of Life as an Artist, 1854-55, Musée d’Orsay, Paris
The figures in the painting are allegorical representations of the various influences on Courbet’s artistic life. On the left are human figures from all levels of society, in the center a landscape, and a nude model who symbolizes the academic art tradition. When this painting was refused for the Paris World’s Fair of 1855, he opened his own exhibition close by the exposition, a forerunner of the Salons des Refuses.
René Magritte, The Treachery of Images, 1928-29, Los Angeles County Museum of Art
Edgar Degas, The Tub, pastel, 1886
French Impressionism
- Pastel
- perhaps flattened Japanese perspective
- studio artist, did not paint en plein air
- eaner quality achieved with pastels
- Pastels – he favorite medium
- naked woman is non-idealized, everyday character
Frida Kahlo, The Two Fridas, 1939, Museo de Arte Moderno, Mexico City
Francisco Goya, Third of May 1808, 1814, Mueso del Prado, Madrid
Richard Serra, Tilted Arc, 1981, removed 1989, Federal Plaza, Foley Square, New York
Richard Upjohn, Trinity Church, NYC, 1839-46
Auguste Préault, Tuerie (Slaughter), 1834, Musée des Beaux-Arts, Chartres, France
Eero Saarinen, TWA Terminal, JFK, 1956-63
Umberto Boccioni, Unique Forms of Continuity in Space, 1913, The Museum of Modern Art, New York
Mark Rothko, Untitled, 1961
Abstract-Expressionism: Color Field Painting
Alexander Calder, Untitled, 1976
Donald Judd, Untitled (brass and plexiglass shelves), 1969
Barbara Kruger, Untitled (Your Gaze Hits the Side of My Face), 1981/85
Cindy Sherman, Untitled Film Still #2, 1977
Robert Venturi, Vanna Venturi House, Chestnut Hill, PA, 1961-64
José Clemente Orozco, Victims, 1936, University of Guadalajara, Mexico
University of Guadalajara (Hospital Chapel)
Maya Lin, Vietnam Veterans Memorial, Washington, DC, 1981-83
Thomas Cole, View of Schroon Mountain, Essex County, New York, After a Storm, 1838, The Cleveland Museum of Art
Le Corbusier, Villa Savoy, Poissy sur Seine, France, 1929
International Style
• 1926 – published “The Five Points of a New Architecture” argued for elevating houses
above the ground on pilotis – freestanding posts
- Ribbon windows
- Interior is open space with thin columns
- No traditional façade
- Ribbon windows – continuous windows
- Inverted traditional design of placing light elements above heavy ones by refusing to
enclose ground story with masonry walls
• Thus upper story “hovers”
Jean-Bapiste Greuze, Village Bride, 1761, Musée du Louvre
Barnett Newman, Vir Heroicus Sublimis, 1950-51, The Museum of Modern Art, New York
Abstract-Expressionism: Hard-Edge Painting
Paul Gauguin, Vision After the Sermon (Jacob Wrestling with the Angel), 1888
French Post-Impressionism
- Obession with “primitive” cultures
- Synthetism- anti-impressionistic combination of objective forms and internal feeling of artist
- influenced by stained glass, folk art and Japanese prints
- attracted to Brittany’s folk culture which he thought was unspoiled by industrialism and 19th century invention
John Singleton Copley, Watson and the Shark, 1778, Museum of Fine Art, Boston
Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1897, Museum of Fine Arts, Boston
French Post-Impressionism
1888 – moved to Tahiti in South Pacific
Thomas Eakins, William Rush Carving His Allegorical Figure of the Schuylkill River, 1877, Philadelphia Museum of Art
Williem De Kooning, Woman I, 1950-52, The Museum of Modern Art, New York
Cass Gilbert, Woolworth Building, NYC, 1913
